PS 3537 
. H9762 
L5 
1922 
Copy 1 



ernational Copyrighted (in England, her Col- 
5, and the United States) Edition of the 
Works of the Best Authors 

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No. 446 



THE LIGHTS OF 
HAPPYLAND 

A ONE ACT PLAY 

BY 
MARION SHORT 

Copyright, 1922, by Samuel French 
All Rights Reserved 



CAUTION. — Professionals and amateurs are hereby 
warned that "THE LIGHTS OF HAPPYLAND," 
being fully protected under the copyright laws of 
the United States and Great Britain, is subject to a 
royalty, and anyone presenting the play without the 
consent of the author or her authorized agents will 
be Hable to the penalties by law provided. Applica- 
tions for professional and amateur acting rights 
must be made to Samuel French, 28-30 West 38th 
Street, New York. 



Price 30 Cents 



New York 

SAMUEL FRENCH 

Publisher 

28-30 West 38th Street 



London 

SAMUEL FRENCH, Ltd. 

26 Southampton Street 

STRAND 



^IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIMIIIIIIIIIItllMllllllllllllllllllllllllliniltlllillllllllllllllllllllllilllHMIIIIIIIIIIIIIIIMIHIIIIIIIinilll.- 




THE REJUVENATION OF AUNT MARY. 

The famous comedy in three acts, by Anne Warner. 7 males, 6 
females. Three interior scenes. Costumes modern. Plays 2J4 hours. 

This is a genuinely funny comedy with splendid parts for "Aunt 
Mary," '.'Jack," her lively nephew; "Lucinda," a New England an- 
cient maid of all work; "Jack's" three chums; the Girl "Jack" loves; 
"Joshua," Aunt Mary's hired man, etc. 

"Aunt Mary" was played by May Robscwi in New York and on tour 
for over two years, and it is sure to be a big success wherever i>ro- 
duced. "We strongly recommend it. Price, 60 Cents. 



MRS. BUMSTEAD-LEIGH. 

A pleasing- co«iedy, in three acts, by Harry James Smith, author of 
"The Tailor-Made Man." 6 males, 6 females. One interior scene. 
Costvimes modem. Plays 2J4 hours. 

Mr. Smith chose for his initial comedy the complications arising 
from the endeavors of a social climber to land herself in the altitude 
peopled by hyphenated names — a theme permitting innumerable com- 
plications, according to the sp-irit of the writer. 

This most successful comedy was toured for several seasons by Mrs. 
Fiske with enormous success. Price, 60 Cents. 



MRS. TEMPLE'S TELEGRAM. 

A most successful farce in three acts, by Frank Wyatt and Wil- 
liam Morris. 5 males, 4 females. One interior scene stands through- 
out the three acts. Costumes modern. Plays 2J4 hours. 

"Mrs. Temple's Telegram" is a sprightly farce in which there is 
an abundance of fun without any taint of impropriety or any ele- 
ment of offence. As noticed by Sir Walter Scott, "Oh, what a 
tangled web we weave when first we practice to deceive." 

There is not a dull moment in the entire farce, and from the time 
the curtain rises until it makes the final drop the fun ia fast and 
furious. A very exceptional farce. Price, 60 Cents. 



THE NEW CO-ED. 

A comedy^ in four acts, by Marie Doran, author of "Tempest and 
Sunshmc," etc. Characters, 4 males, 7 females, though any number 
of boys and girls can be introduced in the action of the play. One 
interior and one exterior scene, but can be easily played in one inte- 
rior scene. Costumes modern. Time, about 2 hours. 

The theme ul this play is the coming of a new student to the col- 
lege, her reception by the scholars, her trials and final triumph. 

There are three especially good girls' parts, Letty, Madge and 
Estelle, but the others have plenty to do. "Punch" Doolittle and 
George Washington Watts, a gentleman of color, are two particularly 
good comedy characters. We can strongly recommend "The New 
Co-Ed ' to high schools and amateurs. Price, 30 Cents. 

(The Above Are Subject to Royalty When Produced) 
SAMUEL FRENCH, 38-30 West 38th Street, New York City 

Hew sfd Explicit DoscfiprJve Catalogue Mailed Free on Remeat 



THE LIGHTS OF 
HAPPYLAND 

A ONE ACT PLAY 



BY 
MARION SHORT 



Copyright, 1923, by Samuel French 

All Rights Reserved 

CAUTION. — Professionals and amateurs are hereby warned 
that "THE LIGHTS OF HAPPYLAND," being fully 
protected under the copyright laws of the United States 
and Great Britain, is subject to a royalty, and anyone 
presenting the play without the consent of the author or 
her authorized agents will be liable to the penalties by 
law provided. Applications for professional and amateur 
acting rights must be made to Samuel French, 28-30 West 
38th Street, New York. 



New York 

SAMUEL FRENCH 

Publisher 

28-30 West 38th Street 



London 

SAMUEL FRENCH, Ltd. 

26 Southampton Street 

STRAND 



I ^ Z 1^ 



PS B53 ■ 



All Rights Reserved 

"THE LIGHTS OF HAPPYLAND" is fully protected 
by copyright, and all rights are reserved. 

Permission to act, to read publicly, or to make use of 
this play must be obtained from Samuel French, 28-30 
West 38th Street. New York. 

It may be presented by amateurs upon payment of a 
royalty of five dollars for each performance, payable to 
Samuel French one week before the date when the play 
is given. 

Professional rates quoted on application. 

Whenever this play is produced the following notice 
must appear on all programs, printing and advertising 
for the play: "Produced by special arrangement with 
Samuel French of New York." 



OtC 21 1322 



COSTUMES 

Margery's first gown is a fancy gait::!},' costume suit- 
able for a Mardigras ball; fancy head-dress 
with it. Her second goivn is a silk negligee. 
The head-dress is discarded and her hair curls 
loosely about Iter ears. The third change is 
made by adding a bright-colored cape and hood 
to be worn over the negligee, and negligee slip- 
pers. 

Emily zvears a negligee of soft crepe, lavender or 
zvhite, with lace. Her hair is slightly tinged 
with gray. 

Mammy Lou wears a plain print gown and white 
apron. A bright bandanna handkerchief is 
zvound about her head. 

Lee wears a domino. When he discards it he is 
seen either in a regulation Prince Charming cos- 
tume, or in full dress, but the domino is im- 
perative. 

CHARACTERS 

Margery Gordon A Southern girl 

Emily May Margery's aunt 

Mammy Lou Margery's old colored nurse 

Lee De Claviere Margery's Prince Charming 



THE LIGHTS OF 
HAPPYLAND 



Locale: New Orleans, during Madigras zveek. 

Time : The present. Midnight. 

Scene: Sitting-room of a typical Southern home. 
The furnishings are light and airy. On a table 
at R. there is a large lamp witJi rose-colored 
shade, also writing materials and a box of taffy. 
Large chair at right of table, a small chair the 
other side. There is a divan at l. piled up with 
bright chintz cushions. On the mantelpiece at 
R. rests a clock and candelabra. French win- 
dozvs at back opening onto garden. Door r. 

Discovered: Mammy Lou at r., speaking off. 

Mammy. What is it, Miss Emily? 

Emily. (Heard off) Hasn't that child got home 
yet? 

Mammy. (Standing near door r.) No, Miss 
Emily, but dey ain't no 'casion to worry youse'f. 
Missy Margie'll get here fo' midnight. (Clock strikes 
twelve. Mammy goes up to it and addresses it re- 
proachfully.) You ain't contradictifyin' me? You 
ornery old blab-mouth you better look out or I'll 
push your hands right off yo' face. 

Margery. (Enters from l., carrying bright horn 
covered zvith streamers ; confetti is thrown into the 
room after her. There is the sound of laughter and 

5 



6 LIGHTS OF HAPPYLAND 

the blare of horns and ''good-byes" and then she 
faces Mammy Lou J Mammy Lou! 

Mammy. (Admiringly) Missy Margie, dat ain't 
you? 

Margery. No, Pm the spirit of Mardigras, made 
out of music and roses and stars and laughter. I 
couldn't stay at the ball as long as I liked, so I 
brought part of it home with me. (Pelts Mammy 
zvith roses, gives her a squeeze, then dances all about 
the room, humming music of a dance.) 

Mammy. (Begins to szvay as Margery dances) 
Lawzy, dat starts my sugar heel. I almos' got to 
hoi' down bofe feet to keep 'em on de fio'. (Blare 
of horns, shouts and laughter heard in the distance.) 

Margery. Just gladness ! That's what Mardi- 
gras means. The dark old world lit up with the 
lights of Happyland. The lights of Happyland ! 
Oh, such a wonderful night! The procession was 
a ribbon of glory. Mammy. And then the ball! 
Lovely, sparkling ladies leaning from the balconies 
to watch the dancers below ! And oh, my partner ! 
He carried me along so lightly it was like floating on 
a wind-blown cloud ! 

Mammy. Mammy's happy li'l lamb! But when 
Miss Emily finds out you be'n to dat ball, while she's 
gone on thinkin' you was spendin' de ebenin' at a 
neighbor's — dere's where trouble's gwine to staht ! 

Margery. Oh, Pll confess it all in the morning! 
No matter what happens then — it can't take away 
the memory of this wonderful, rainbow-colored 
night. What girl is he dancing with now, I won- 
der? 

Mammy. What "he" does yo' mean? 

Margery. A wonderful Prince Charming, 

Mammy ; handsome and manly (Reaches to 

grasp her foot.) O-o-o-o ! (Limps across the 
floor.) 



LIGHTS OF HAPPYLAND 7 

Mammy. What you exclaimin' about, honey? 

Margery. SHppers ! I don't see why they hurt 
me — they're only two sizes too small ! 

Mammy. Want me to unhook you for baid? 

Margery. Yes, only don't unhook my backbone 
too, the way you did last time. (Gets in front of 
Mammy, who begins to unfasten gown.) 

Mammy. Dat's kase mah fingers is all feet. 

Margery. To think I had to run away from the 
ball before midnight, just like poor little Cinderella ! 
Away from Prince Charming 

Mammy. (Working to unfasten gown) Prince 
Ch — Charming? Better not let yo' Aunt Emily hear 
you talkin' 'bout no Prince Charming — Charming 
Prince ! Bekase ob dat disapp'intment when she 
was young, she ain't got no use for de male popu- 
lation. 

Margery. (While Mammy tugs at buttons) 
Cinderella didn't wear tight slippers like mine, and 
she ran so fast she lost one — ouch! 

Mammy. (Startled) Did I hurt you? 

Margery. No, tickled. 

Mammy. (Resumes her task) You always was 
ticklish. 

Margery. Oh, if I could only run back to Prince 
Charming ! Ouch ! There, you did it all over 
again ! 

Mammy. Don't holler lak dat, Missy Margery, it 
hits me in de spiral column. 

Margery. That last wonderful waltz ! (Breaks 
away from Mammy Lou and holding gown together 
at back begins to dance. Emily enters. Margery 
sees her and starts back guiltily.) Aunt Emily! 

Emily. (Advances into the room) Yes, I over- 
heard ! So, you and Mammy and my neighbors con- 
spired together to deceive me ! Without my con- 



8 LIGHTS OF HAPPYLAiND 

sent, against my command, you went to the Mardi- 
gras ball ! 

Margery. But all the girls were going, Aunt 
Emily, and I 

Emily. (Sternly sorrowful) No excuses ! This 
is my reward for trying to safeguard your happi- 
ness, protect you against yourself. Very well! To- 
morrow we shall leave for the plantation where 
there will be no temptations to resist ! 

Mammy Lou. (In half -whisper of remonstrance) 
Oh, Miss Emily!' 

Emily. This, your first ball, shall also be your 
last, while I live ! 

Margery. But Aunt Emily, if a girl can't he a 
girl while she is one, she might as well not be a 
girl. 

Emily. (More kindly) I am doing for you, Mar- 
gery, only what I wish some one had done for me 
when I was your age. 

Margery. My last ball ! and to have to go away 
and live on that lonely old plantation. Oh, I can't 
bear it — I won't ! (Weeps) 

Mammy. Don't, honey, you stresses Mammy's 
rheumatiz when you cries lak dat. 

Emily. Go to your room. Some day you will 
understand. 

Margery. (Comes, sobbing, and kisses her aunt's 
cheek dutifully, and then goes toivard exit) G-g-g-g- 
Good night ! (Exits.) 

Emily. (With grim determination) W'e shall rise 
early and make ready for our journey. 

Mammy. (Scared but disapproving) Ye'as'm 
Miss Emily. 

Emily. Set things in order and put out the lights. 

Mammy. Ye'as'm, I'll distinguish de lights. 

Emily. (Severely, turning as she reaches door) 



LIGHTS OF HAPPYLAND 9 

I will guard the treasure Providence has placed in 
my care. Some day she will thank me. 

Mammy. Ya'as'm, Miss Emily, I knows you'se 
gwine to guard it when you says it lak dat. 

Emily. Good night. (Exits.) 

Mammy. (Anszvers the ''Good night," then 
thumps a pillow very hard) "Plantation to-morrow." 
Buryin' mah Iamb wher dere's nuffin' but niggahs 
scurryin' froo de cotton fields and no young folks, 
and no dancin' and no beaux ! 

Lee. (Steps in from the garden, holding domino 
so it half conceals his face. He looks toward R., 
and does not see Mammy Lou just at first) Miss 
Margery ! 

Mammy. (From extreme i..) Massy me! fLsE 
lowers domino, turns and sees her.) Who de debbil 
let you in? Is you a burglar or who? 

Lee. (Softly, reassuringly) Only a harmless sub- 
ject of King Mardigras. 

Mammy. What business you got prowlin' round 
at dis unyearthly hour? 

Lee. I'm here to speak with your young lady for 
just a moment. It's very important. Won't you 
tell her so? 

Mammy. No, indeedy ! Miss Emily ain't 'lowin' 
nuffin' lak dat. 

Lee. Who's Miss Emily? 

Mammy. You'll find out who's Miss Emily, 
man, if she once gits her eyes sot on you. Bettah 
make yo'sef absent! 

Lee. No, no ! I've got to see and talk with my 
fairy princess again if only for one moment. 

Mammy. (Tremendously interested) Sakes alibe ! 
Am you dat Prince man Missy Margie dance wiv 
at de ball? 

Lee. (With boyish delight) Did she speak to 
you of me? 



10 LIGHTS OF HAPPYLAND 

Mammy. Uuhm ! Kep a-wishin' to git back whar 
you is. 

Lee. (Overjoyed, seizes her in his arms) Tell me 
that again ! 

Mammy. (Struggling) Stop clat ! You po' white 
trash prince man ! I ain't yo' princess. Dat's Miss 
Emily a-comin'. You got to go ! An* go quick ! 

Lee. (Impatiently, going toward garden) Why 
can't some people stay in bed where they belong? 

Mammy. Put dat in yo ozvn pipe and smoke it! 
("Lee exits. Margery enters. Mammy, zvith back 
turned, thinks it is Miss Emily and keeps on talk- 
ing.) No, Miss Emily, I was jes' talkin' to mahsef. 
Dey ain't no one round to be scared of. ("Mammy 
sees that it is Margery.J My Ian' ! Is eberybody 
on yearth stayin' up all night? Ain't you ready to 
lay yoself down and go to sleep? 

Margery. (Pulling a silk negligee about her) No, 
I don't want to go to the arms of Morpheus yet. 

Mammy. Who's Morpheus, you li'l owl ? No re- 
lation to dat Prince man, is he? (Peeps surrep- 
titiously in direction of window.) 

Margery. (Climbs into a big chair) No, Mammy, 
Morpheus is the god of sleep. But if an owl felt 
the way I do he would stay awake for a hundred 
years. I want to live those hours at the ball all over 
again, and I'm going to snuggle here and dream, and 

dream and dream (Catches her breath with a 

sigJi.) It's the plantation and the end of dreams to- 
morrow, Mammy ! 

Mammy. Dat pizenous ole plantation whah you 
ain't nevah gwine to git acquainted wiv nuffin' but 
lonesomeness ! Miss Emily ought to hab a daugh- 
ter ob her own to teach her sensibleness ! 

Margery. Mammy ! Only married ladies have 
daughters. 

Mammy. (With emphasis) Be dat as it may, its 



LIGHTS OF HAPPYLAND ii 

mah opinion dat if mournful disposition folks lak 
Miss Emily can't rise up and be what dey ain't, 
dat ain't no 'scusin' circumstantiation for deir layin' 
down and bein' what dey am ! (Goes toward win- 
dow. As she does so Margery writes on a huge 
sheet of writing paper.) 

Margery. (Speaking letters as she reads them) 
I L-O-V-E H-I-M ! I love him ! (Notices Mammy 
peering from zvindow.) What you looking at. 
Mammy ? 

Mammy. To see if dey's any ob dem crazy Mardi- 
grawzes folks hangin' round' de gyarden ; but dey 
ain't. Bettah not! I'll go tuhn back yo' HI' bed, 
and I ain't gwine to close mah eyes until I tucks 
yo' in. (Hums a darkey song as she exits. A rose 
comes through the window and falls at Margery's 
feet.) 

Margery. Ah ! ("Margery starts up, her hand to 
her heart. Lee enters, holding domino across face.) 
Prince Charming ! 

Lee. You knew me ? (Lozvers domino from face.) 

Margery. Of course. You look just the same. 

Lee. (Advances a step or two) You're not fright- 
ened? 

Margery. No. Not a Httle bit. Are you? 

Lee. Maybe it's fright, but I like it. 

Margery. (With a glance tozvard door R.J Of 
course it's awfully late ! Look at that clock. 

Lee. Clocks are taboo on Mardigras nights. 
May I have a word with you? 

Margery. Two or three, if you like. Oh, what 
fun! What shall we talk about? (Sits by table.) 

Lee. Well, say the slipper you dropped as you 
left the ballroom, little Cinderella ! 

Margery. (Stutters, uncomprehending) S-slip- 
per? M-mine? 

Lee. I came to restore a lost article. (Shows a 



12 LIGHTS OF HAPPYLAND 

rose-colored slipper. Margery is bewildered.) It's 
yours, isn't it? Of course, if I've made a mistake 
in the owner, my being here is unpardonable — I 
suppose. 

Margery. (Quickly jumps up) You'd have to 
seek elsewhere, if it didn't belong to me? 

Lee. Hm — perhaps ! 

Margery. (Jealously, zvith a grab at slipper, 
ivJiich Lee eludes) It's mine ! 

Lee. (Retains slipper) Then let me put it on. 

Margery. (Fearing he will discover her decep- 
tion) N-no, I don't want you to. 

Lee. (Looks about him) So this is where the 
Fairy Princess lives ! 

Margery. (With a sigh) Until to-morrow. 
(Turns to him.) Sit down, won't you? (Sits 
at R. of table.) 

Lee. (Sits other side of table) I should say I 
would! What a favor you did me when you lost 
your slipper! If you could realize just what be- 
ing here means to me ! The moment I saw you 
come into that ball-room, I knew I was done for! 
And now, to be sitting across the table from you, as 
cozy as if we were already 

]\1argery. (As he leans tozvard her hastily offers 
him a piece of candy) Taffy? 

Lee. (Takes candy) Know any other chaps? 

Margery. Oh, I don't want to talk about them ! 

Lee. (Jealously) Then there is some one else? 
(Sees paper on which Margery has written '7 
love you." Takes it in his hand and crumples it 
up after giving a startled exclamation. Margery, 
looking away, does not know he has the paper.) Of 
course ! I've been a fool in a fool's paradise. It's 
time I waked up. The witchery of this Louisiana 
night — the witchery of you ; and now — some one 
else ! 



LIGHTS OF HAPPYLAND 13 

Margery. But I didn't say there was. 

Lee. (Shows the paper) I saw this— by acci- 
dent. You wrote it, didn't you? 

Margery. (Embarrassed, snatches the paper) 
No! Yes, but it doesn't mean anything. 

Lee. (Fierce, jealous accusation) You wrote i 

love him." r • ^ ^u^ 

Margery. Couldn't I have been referring to the 

cat ^ 

Lee. Don't speak lightly of it— please (Rises 
and walks tozvard her.) To have found the one 
eirl in all the world for me— and now— some one 
else" ' It makes me desperate to think of your lov- 
ing another man. Of course, I've no right to know 
his name. I don't intend to ask who he is. (^^ud- 
denly faces tozvard her.) Who is he? _ ^ 

Margery. (Softly mischievous) He isn t— any- 
one — you'd object to. 

Lee. (Puzzled) What? ^ u > .. 

Mammy. (Heard off) Now please don tagitae 
yo'sef, Miss Emily, and git one ob dem bad spells 

o' lamentin' 

(Enter Emily, followed by Mammy Lou.; 

Margery. (Horrified. She and Lee start apart) 

^^Eli^^'^Starts tozvard Lee as if in anger, then 

recoils) You ! You ! . . 

Margery. Please don't be angry, Aunt Emil>— i 

met him at the ball— we danced together, but he s 

sfoinsf now, and , 

Emily (With slow bewildermcjit, deaf to^ what 
Margery is saying, her eyes on Lee;_ How is it I 
have grown so old, Edward De Claviere, and you 

''llT^^rr£E6..ra De Claviere, Madam. 
I am Lee, his son. 



14 LIGHTS OF HAPPYLAND 

Emily. Edward De Claviere's son? Yes, of 
course — I should have known ! The resemblance 
dazed me for a moment. You are so like him — so 
like! (Rouses herself into a sort of ferocity.) Why 
have you come here to my house? 

Margery. Oh, he wouldn't, Auntie, only it's Car- 
nival time, and 

Emily. (Silencing Margery zvith a gesture) 
Why have you come here, I say? 

Lee. I followed your niece home from the ball ! 
Fm madly in love with her. 

Emily. Oh! (Staggers hack. Mammy Lou ^m/j- 
ports her. Margery is pleased zvith his declaration, 
then remembers her aunt.) It does not take long for 
a De Claviere to win a girl's heart ; nor long after- 
wards to trample it underfoot ! 

Lee. (With dignity) You have a harsh opinion 
of my kin. Why? 

Emily. You to ask me that! You, the son of the 
man who deserted me almost at the altar, and make 
me the mock of the world ! 

Lee. (Appalled) You were that woman? 

Emily. (With bitter finality) I was that woman. 
You can see now why a further acquaintance with 
my niece is out of the question. 

Lee. But I don't see that at all. Why should I 
be held responsible for the sins of my father? Aren't 
you going to give me any sort of a chance to prove 
I can be different .'' 

Emily. There's no faith in the De Clavieres. I 
know the family. Go, Margery. This man will 
leave my house now ; and he will not come back. 
(To Margery.J Go, I say. 

Margery. (Tremulously) Yes, Aunt Emily. 
Good-bye — forever — Prince Charming. (Rushes off 

E.j 

Lee. This is final, is it? 



LIGHTS OF HAPPYLAxND 15 

Emily. Final. 

Lee. (Goes toward zvindow, and then turns hack) 
Somehow I feel that I'll win her in spite of you — 
of everything! I can't give up! I won't! 

Emily. (Imploringly) Don't set your will against 
mine. Always, since Margery was a child, Tve seen 
my old, foolish, trusting self in her ; seen the shadow 
of my fate hanging over her bright head. That's 
why I've wanted to keep her safe from the world ; 
to keep her forever from loving if I could, so when 
she came to be old she would not be bitter and broken 
like me! She's all I have. To see her trust her 
happiness to a De Claviere would mean my death! 
(Slowly sinks to her knees.) Let me keep her in 
my care ! Don't take her from me ! See, I beg you 
on my knees ! 

(With an exclamation, he lifts her to her feet.) 

Lee. (Very quietly, hut with intensity) Before I 
take my leave, there's something I wish to tell you ; 
something I think you ought to know. 

Emily. You can have nothing to say that could 
be of interest to me, or mine. (Turns azvay from 
him.) 

Lee. Still I insist upon saying it, because it con- 
cerns 3^ou yourself. 

Emily. (Startled, pauses) Me? 

Lee. (With boyish sincerity) Yes, you. My 
father and mother were never happy together. I 
scarcely remember my mother. Their marriage was 
a bitter failure. When father was called away from 
earth it was not my mother's picture I found op- 
posite his in the watch he always carried, but that 
of a girl he had expected to marry before he met 
my mother, and whom he once told .me he had never 
ceased to love. Time works changes in us all, of 
course; still, I half believe the girl in the picture 



i6 LIGHTS OF HAPPYLAND 

was you. (Draws watch from his pocket and opens 
it.) 

Emily. You're smooth-tongued as all the De 
Clavieres. I do not credit your foolish story. 

Lee. This, then, is not your picture ? (He hands 
her the zvatch.) 

Emily. (Casing at picture, speaks slozvly and with 
intense emotion) My picture that I gave him. Ed- 
ward, Edward, this one moment wipes out the agony 
of years. 

Lee. (Very gently) Then you're going to trust 
me — just a little? 

Emily. (Slowly) Perhaps. Time will tell. We 
shall see ! (Turns, and dreamily zvalks toward door 
R.) Edward! Edward! (Exits R.J 

Mammy. (To LeeJ Does dat mean — dat, maybe, 
perhaps, you'se gwine to be 'lowed to come back? 

Lee. It's got to mean it, Mammy ! And now you 
must carry the girl a good-night message from me. 

Mammy. (Shakes head ''No") Mos' lak she's 

asleep ! 

Lee. (He puts a dollar in her hand) Please! 

Mammy. (Gratified at size of tip) But 'tain't no 
harm to wake her. What all shall I say? 

Lee. Tell her she's sweet as a white rose spar- 
kling with dew. Tell her she's fair as silver moon- 
beams dancing across the ripples of a lake. Tell 

her she's the little queen of my heart 

' Mammy. Wait! I done got dem silver ripples 
mixed up wiv dimond jew. Would you mind com- 
mencing at de beginnin'? 

Lee. (Laughs) I'll save it to tell her myself. 
Good-night, Mammy. 

Mammy. Good-night. (Exits R.j 

(As Lee starts tozvard window, Margery, in cape 
and hood, steps in, meeting him.) 



LIGHTS OF HAPPYLAND 17 

Margery. I've been waiting for you outside in the 
garden to tell you another last good-bye. 

Lee. No, not good-bye — only howdy do! 

Margery. Why, you can't have made friends 
with Aunt Emily? 

Lee. I hope so ! 

Margery. (Ecstatically) Oh ! dear Aunt Emily ! 

Lee. I'm going to make her trust me ! Oh, Fairy 
Princess, I want to ask you a question before I go — 
can't you guess what it is? 

Margery. \^'ait ! I'm afraid you won't want to 
ask it when you find how I've been deceiving you. 

Lee. Deceiving me? 

Margery. Dreadfully. (Walks to table and gets 
slipper, and returns with it.) There ! (She puts 
the slipper in his hand.) 

Lee. (Downcast, not understanding ) You're giv- 
ing me — the mitten? 

Margery. No ; slipper ! It isn't mine. My foot 
isn't half as big as that. But I didn't want you to 
hunt up the other girl, so I pretended it was. For- 
give me. Good-bye. 

Lee. Don't go ! 

Margery. Hm? (Turns back.) 

Lee. You didn't deceive me in the least. 

Margery. No? 

Lee. I knew the slipper wasn't yours and never 
had been. 

Margery. (Indignantly) What ? 

Lee. I borrowed it of my sister as an excuse 
to come here. 

Margery. (Astonished) Then all the time I was 
deceiving you, you were deceiving me, first? 

Lee. I was. 

Margery. (Shakes her head, sadly) We're 
neither of us worthv of each other ! 



i8 LIGHTS OF HAPPYLAND 

Lee. That's why we're going to be happy. (Takes 
her in his arms.) 

Mammy. (Appears at door rJ Sakes alibe! 
(They start apart, then run to sofa, and into each 
other's arms again. Mammy calls loudly off rJ 
Ya'as'm, Miss Emily. Miss Margie's all right! 
She's safe in de arms of Morphine ! 

CURTAIN 

(Second curtain. Emily on; and gives her blessing.) 



DOROTHY»S NEIGHBORS. 

A t'landnew^ comedy in four acts, by Marie Doran, author of "The 
JNew Co-td, Tempest and Sunshine," and many other successful 
plays. 4 males, 7 females. The scenes are extremely easy to 
arrange; two plain interiors and one exterior, a garden, or, if neces- 
sary, the two interiors will answer. Costumes modern. Plays 2^ 
hours. 

The story is about vocational training, a subject now widely dis- 
cussed; also, the distribution of large wealth. 

Back of the comedy situation and snappy dialogue there is good 
logic and a sound moral in this pretty play, which is worthy the 
attention of the experienced amateur. It is a clean, wholesome play, 
particularly suited to high school production, price, 30 Cents. 

MISS SOMEBODY ELSE. 

A modern play in four acts by Marion Short, author of "The 
Touchdown," etc. 6 males, 10 females. Two interior scenes. Cos- 
tumes modern. Plays 2J4 hours. 

This delightful .comedy has gripping dramatic moments, unusual 
character types, a striking and original plot and is essentially modern 
in theme and treatment. The story concerns the advetures of Con- 
stance Darcy,_ a multi-millionaire's young daughter. Constance em- 
barks on a trip to find a young man who had been in her father's 
employ and had stolen a large sum of money. She almost succeeds, 
when suddenly all traces of the young man are lost. At this point 
she meets some old friends who ere living in almost want and, in 
order to assist them through motives benevolent, she determines to 
sink her own aristocratic personality in that of a refined but humble 
little Irish waitress with the family that are in want. She not only 
carries her scheme to success in assisting the familj^ but finds 
romance and much tense and lively adventure during the period of 
her incognito, aside from capturing the young man who had defrauded 
her father. The story is full of bright comedy lines and dramatic 
situations and is highly recommended for amateur production. This 
is one of the best comedies we have ever offered with a large num 
ber of female characters. The dialogue is bright and the play is full 
of action from start to finish; not a Jull moment in it. This is a 
great .comedy for high schools and colleges, and tiie wholesome story 
will please the parents and teachers. We strongly recommend it. 

Price, 30 Cents. 



PURPLE AND FINE LINEN. 

An exceptionally pretty comedy of Puritan New Fngland, in three 
acts, by Amita B. Fairgrieve and Helena Miller. 9 male, 5 female 
characters. 

This is the Lend A Hand Smith College ytize play. It is an ad- 
mirable play for amateurs, is rich in character portrayal of varied 
types and is not too difficult while thoroughly pleasing. 

Price, 30 Cents. 

(The Above Are Subject to Royalty When Produced) 
SAMUEL FRENCH, 28-30 West 38th Street, New York City 

Ntw and Explicit Descriptive Catalogue Mailed Free on Request 



BILLETED. 

A comedy In 3 acts, by F. Tennison Jesse and H. Harwood. 4 
males, 5 females. One easj' interior seen?. A charming comedy, 
constructed with uncommon skill, and abounds with clever lines. 
Margaret Anglin's bi^r success. Amateurs will find this comedy easy 
to produce and pop'a^ar with all audiences. Price, 60 Cents. 



NOTHING BUT THE TRUTH. 

A comedy in 3 acts. By James Montgomery. 5 males, 6 females. 
Costumes, modern. Two interior scenes. Plays 2^ hours. 

Is it possible to tell the absolute truth — even for twenty-four hours? 
It is— at least Bob Bennett, the hero of "Nothing Biit the Truth," 
accomplished the feat. The bet he made with his business partners, 
and the trouble he got into — with his partners, his friends, and his 
fiancee — this is the subject of William Collier's tremendous comedy 
hit. "Nothing But the Truth" can be whole-heartedly recommended 
as one of the most sprightly, amusing and popular comedies that this 
countrv can boast. Price, 60 Cents. 



IN WALKED JIMMY. 



A comedy in 4 acts, by Minnie Z. Jaffa. 10 males, "2 females (al- 
though any number of males and females may be used as clerks, 
etc.). Two interior scenes. Costumes, modern. Plays 2^2 hours. 
The thing into which Jimmy walked was a broken-down shoe factory, 
when the clerks had all been fired, and when the proprietor was in 
serious contemplation cf suicide. 

Jimmy, nothing else but plain Jimmy, would have been a mysterious 
figur( had it not been for his matter-of-fact manner, his smile and 
his everlasting humanness. He put the shoe business on its feet, won 
the heart of the girl clerk, saved her erring brother from jail, escaped 
thnt place as a permanent hoarding house himself, and foiled the 
villain. 

Clean, wholesome comedy with just a touch of human nature, just 
a dash of excitement and more than a little bit of true philosophy 
make "In Walked Jimmy" one (f the most _ delightful of plays. 
Jimmy is full of the religion of life, the religion of happiness and 
the religion of helpfulness, and he so permeates the atmosphere with 
his "religion" that everyone is happy. The spirit of optimism, good 
cheer, and hearty laughter dominates the play. There is not a dull 
moment in any of the four acts. We strongly recommend it. 

Price, 60 Cents. 



MARTHA BY-THE-DAY. 

An optimistic comedy in three acts, by Julie M. Lippmann, author 
of the "Martha" stories. 5 males, 5 females. Three interior scenes. 
Costumes modern. Plays 2l^t hours. 

It is altogether a gentle thiiig, this play. It is full of quaint hu- 
mor, old-fashioned, homely sentiment, the kind that people who see 
the play will recall and chuckle over to-morrow and the next day. 

Miss Lippmann has herself adapted her very successful book for 
stage service, and in doing this has selected from her novel the most 
telling incidents, infectious comedy and homely sentiment for the 
play, and the result is thoroughly delightful. Price, 60 Cents. 

(The Above Are Subject to Royalty When Produced) 
SAMUEL FRENCH, 2S-30 We* t 38th Street, New York City 

New and Explicit Descriptive Catjiogue Mailed Free on Request 



The Touch-Down 

A comedy in four acts, by Marion Short. 8 males, 6 females, but 
any number of characters can be introduced in the ensembles. Cos- 
tumes modern. One interior scene throughout the play. Time, 2J4 
laours. 

This play, written for the use of clever amateurs, is the story of 
life in Siddell, a Pennsylvania co-educational college. It deals with 
the vicissitudes and final triumph of the Siddell Football Eleven, and 
the humorous and dramatic incidents conaected therewith. 

"The Touch-Down" has the true varsity atmosphere, college songs 
are sung, and the piece is lively and entertaining throughout. High 
schools v/ill make no mistake in producing this play. We strongly 
recommend it as a high-class and well-written comedy. 

Price, 30 Cents. 

Hurry^ Hurry^ Hurry 

A comedj' in three acts, by LeRoy Arnold. 5 males, 4 females. 
One interior scene. Costumes modern. Plays 2^ hours. 

The story is based on the will of an eccentric aunt. It stipulates 
that her pretty niece must be affianced before she is twenty-one, and 
married to her fiance within a year, if she is to get her spinster 
Telative"'s million. Father has nice notions of honor and fails to tell 
daughter about the will, so that she may make her choice untram- 
meled by any other consideration than that of true love. The action 
all takes place in the evening the midnight of which will see her 
reach twenty-one. Time is therefore short, and it is "hurry, hurry, 
hurry, if she is to become engaged and thus save her father from 
impending bankruptcy. 

The situations are intrinsically funny and the dialogue is sprightly. 
The characters are natural and unaffected and the action moves with 
a snap such as should be expected from its title. Price, 30 Cents. 

The Varsity Gjach 

A three-act play of college life, by Marion Short, specially adapted 
to performance by amateurs or high school students. 5 males 6 
females, but any number of boys and girls may be introduced in the 
action of the play. Two settings necessary, a college boy's room and 
the university campus. Time, about 2 hours. 

Like many another college boy, "Bob" Selby, an all-round popular 
college man, becomes possessed of the idea that athletic prowess is 
more to be desired than scholarship. He is surprised in the midst of 
a "spread" in his room in Regatta week by a visit from his aunt 
who is putting him through college. Aunt Serena, "a lady of the old 
school and the dearest little woman in the whole world," has hastened 
to make this visit to her adored nephew under the mistaken impression 
that he is about to receive the Fellowes prize for scholarship. Her 
grief and chagrin when she learns that instead of the prize Robert 
has received "a pink card," which is equivalent to suspension for poor 
scholarship, gives a touch of pathos to an otherwise jolly comedy of 
college life. How the repentant Robert more than redeems himself, 
carries off honors at the last, and in the end wins Ruth, the faithful 
little sweetheart of the "Prom" and the classroom, makes a story of 
dramatic interest and brings out very clearly certain phases of modern 
college life. There are several opportunities for the introduction of 
college songs and "stunts." Price, 30 Cents. 

(The Above Are Subject to Royalty When Produced) 

I— II .. II ■^— _-.^^_»g^ 

SAMUEL FRENCH, 28-30 West 3Sth Street, New York City 

New and Ex^ictt Descriptive Cataiogce Mailod Free o§ fteqyest 



The Return o: 



LIBRORY OF CONGRESS 



120 5 

ic vaisiiy 

Costumes 



015 930 

A comedy in four acts, by Marion S _., . -. . 

Coach," "The Touch-Down," etc, 6 males, 8 females, 
modern. One interior scene. 

This comedy is founded upon and elaborated from a farce comedy 
in two acts written by J. H. Horta, and originally produced at Tuft's 
College. 

Hiram Poynter Jinks, a Junior in Hoosic College (Willie Collier 
type), and a young moving picture actress (Mary Pickford type), are 
t;he leading characters in this lively, modern farce. 

Thomas Hodge, a Senior, envious of the popularity of Jinks, wishes 
to think up a scheme to throw ridicule upon him during a visit of 
the Hoosic Glee Club to Jinks's home town. Jinks has obligingly acted 
as a one-day substitute in a moving picture play, in which there is a 
fire scene, and this gives Hndge his cue. He sends what seems to 
be a bona fide account of Jink's heroism at a Hoosic fire to Jink's 
home paper. Instead of repudiating his laurels as expected, Jinks 
decides to take a flyer in fame, confirms the fake story, confesses to 
being a hero and is adored by all the girls, to the chagrin and dis- 
comfiture of Hodge. Of course, the truth comes out at last, but 
Jinks is not hurt thereby, and his romance with Mimi Mayflower 
comes to a successful termination. 

This is a great comedy for amateurs. It is full of funny situations 
and is sure to please. Price, 30 Cents. 



June 



A most successful comedy-drama in four acts, by Marie Doran, 
author of "The New Co-Ed," "Tempest and Sunshine," "Dorothy's 
Neighbors," etc. 4 males, 8 females. One interior scene. Costumes 
modern. Plays 2% hours. 

This play has a very interesting group of young people. June is 
an appealing little figure, an orphan living with her aunt. There are 
a number of delightful, life-like characters: the sorely tried likeable 
Mrs. Hopkins, the amusing, haughty Miss Banks of the glove depart- 
ment, the lively Tilly and Milly, who work in the store, and ambitious 
Snoozer; Mrs. Hopkins's only son, who aspires to be President of the 
United States, but finds his real sphere is running the local trolley 
car. The play is simplicity itself in the telling of an every-day story, 
and the scenic requirements call for only one set, a room in the 
boarding house of Mrs. Hopkins, while an opportunity is afforded to 
introduce any number of extra characters. Musical numbers may be 
introduced, if desired. Price, 30 Cents. 

Tempest and Sunshine 

A comedy drama in four acts, by Marie Doran. 5 males and 3 
females. One exterior and three interior scenes. Plays about 2 hours 

Every school girl has revelled in the sweet simplicity and gentle- 
ness of the characters interwoven in the charms that Mary J. Holmes 
command.* in her story of "Tempest and Svmshine." We can strongly 
recommend this play as one of the best plays for high school pro- 
duction published in recent years. Price, 30 Cents. 

(The Above Are Subject to Royalty When Produced) 



SAMUEL FRENCH, 28-30 West 38th Street. New York City 

New and Explicit Descriptive Catalogue Mailed Free en Request 




Hollinger Corp. 
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